The Minister of Culture has made handicrafts a priority. Promoting excellence, preserving traditions while encouraging vocations… A program in line with the times.
That day, the room adjoining his office is dotted with large poufs around a coffee table covered in Christian Bobin books. The casts, gilding and beautiful language of the recently deceased author are presented in an evening program dedicated to Reading Nights on the first street of Valois. Since May 2022, Rima Abdul Malak, Minister of Culture and former advisor to Emmanuel Macron, welcomes us with a big smile to talk to us not about literature, but about another topic close to her heart: “art” professions. . A sector in renaissance that the 44-year-old Franco-Lebanese intends to bring to the future. Know-how, transfer and innovation. There are national bets.
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Madame Figaro. – Last October, we were at the Lillian-Bettencourt Prize for Hand Intelligence, where you announced a program to support fine crafts from 2023 onwards. What are the general outlines?
Rima Abdul Malak. – As soon as I assumed the position, I immediately expressed my commitment to implement an ambitious future plan with the Ministry, other concerned ministries, our partners and the private sector in favor of fine crafts, because it is an ecosystem where public and private; must work together. During the past few months, I have had the opportunity to visit various places in the regions. opened the Cité du vitrail in Troyes, expansion and renovation funded by the Center State International Art Glazier in Meisenthal, Moselle. … Previously, when I was a cultural attaché in New York, I was able to notice the importance and international influence of this French know-how, their constant connections with other spheres of culture and economy. Artistic professions dialogue with design, fashion, decoration… Everyone is increasingly turning to these artisans. So I was referring to both the economic power of this sector, its creative power, and what it represents in terms of future jobs for young people who have a real enthusiasm for work. My program will be structured around five axes. raise awareness among children and adolescents to encourage the professions (Mobilier National, for example, will launch Le Petit Mob workshops for 7-13 year olds); develop vocational training (like the new university we are supporting in Versailles); will create this ecosystem more strongly in the regions, relying on the France 2030 program to support regional hubs (with a total budget of 46 million euros); facilitate innovation and the use of new technologies; and accelerate international development.
We are the country that has historically integrated these specialties in a very ambitious logic of public procurement.
Rima Abdul Malak
Do we have an idea of the number of companies interested?
We are talking about 281 professions in 16 fields of activity, which represent about 60,000 companies, mostly VSEs. (many small businesses, editor’s note). And 160,000 assets, for an estimated turnover of around €8 billion. Therefore, these are many professions that continue to grow and companies are created every year.
However, it’s a section that makes little noise…
My role is also to highlight them. To show their importance in our economy, our history and our imagination. The Ministry of Culture created the title of Master of Arts in 1994, which may be equivalent to Japan’s Living National Treasures. These masters of arts have a transfer degree that we fund for three years, both for the student and the master. This is the main difference of the Japanese model. 150 craftsmen have already been trained. It’s a great device. We have just celebrated the 2022 promotion of 8 masters of art, including 4 women: Marie-Hélène Soye, metal enameller, Severina Lartigue, floral decorator, Sika Viagbo, mosaicist, the youngest master of art and Anne Barkhausen, artist. decor. Since 2005, the state has also developed the EPV label, Living Heritage Company, which benefits from a 15% tax credit. All this contributes to the creative and economic vitality of the arts and crafts sector.
In fact, what was missing until today? We feel that it is a structural part, but fragmented…
They are actually mostly small businesses that can be very different. I think a new collective drive is needed to promote their importance, to better connect and ally all these professionals. It is also necessary to develop their anchorage in the territories, to create local dynamics in relation to the communities. And we can go further to promote them internationally. there is such potential. It is a dynamic, recognized field, but we need to anticipate and prepare for the common challenges they face: ecological, digital, usage transformation, etc.
What is the specialty of French crafts?
A constant dialogue between heritage and creativity. These specialties have been a part of French history since Louis XIV, Colbert and the famous French Royal Manufactures. We are the country that has historically integrated these specialties in a very ambitious logic of public procurement. Today, Mobilier National, Manufactures de Sèvres, de Limoges are constantly looking for new talents, creators who will invent new forms, new artistic languages. Today’s creativity will become tomorrow’s legacy. Another French feature is its luxury industry, which developed thanks to the know-how of these ancestors. These two legs, public and private, walk together. The Colbert Committee (which brings together the great French names of luxury, Ed.) is also very involved in all our areas and will be one of our partners in the Métiers d’art plan.
You recently stated that the Verrier site in Meisenthal in the East was a true model of inspiration for fine crafts. For what ?
This site is a symbol of the power of the ecosystem. First of all, a beautiful story born from a personal initiative, the story of Ian Greenenberger, the director of the site since 2001, whose special passion, talent and conviction; if we could clone him all over france that would be great. – got thousands of people behind his project. It was supported by the Betancourt-Schuler Foundation, which recognized it as part of its awards, and by the political will of us, but also of the Grand Est region, the country of Bitche, the municipality; Therefore, it is really an alliance of the state, local authorities and the private sector, all of whom are convinced of the future with this project. Meisenthal is a model for me because it is both about preserving tradition and reinventing it through creativity. The reinterpretation of his legendary Christmas balls by modern designers, for example, is a huge success. Training also has its place. And the site has a magnificent museum, workshops open to the public, a shop, a performance hall… It’s a real cultural district. This particular alchemy will not be able to be reproduced as it is elsewhere, as each area has its own characteristics, but I am sure that in each region of France we can find the same sparks.
It was interesting to see how these creators solve environmental problems in a creative and joyful way.
Rima Abdul Malak
Doesn’t French haute couture also play a crucial role in maintaining this know-how?
Yes, it is obvious. Haute couture is a French cultural exception, an ever-renewing field of creativity with international influence and fashion crafts that are both preserved and passed on by groups like LVMH or establishments like Chanel’s 19M. In the Ministry of Culture, we are also very attentive to young creativity. We present the Andam Award every year and support young brands. I was recently at the Palace in Tokyo to discover the Sphère showroom, organized by the Federation of Haute Couture and de la Mode, which highlights promising talent. It was interesting to see how these creators solve environmental problems in a creative and joyful way. This is also what I saw at the Hyer Festival, another showcase of young creativity that my ministry is proud to support.
Shouldn’t the legacy vision of this industry change and show that these industries have a future?
Of course. I would like the European Craft Days (over a million visitors in 2019) to become as important as the European Heritage Days. We need to open more seminars, exhibitions, discovery workshops in colleges… But we also need to show all areas of innovation in this field. Take the example of silk in the Cévennes, it was a defunct regional activity, but a young woman, Clara Hardy, a graduate of the Bull School and ENS, has just relaunched it with her company Sericyne, which she produces entirely thanks to. innovative and patented technique, the first natural 3D silk.
“The object of art is durable, it is opposed to disposable use.”
It is also the field that values the concepts of environmental responsibility that are so important today…
Absolutely! An object of art is durable, it is the opposite of disposable. But I must also mention the special attention of the president of the republic to this field. He gathered designers and craftsmen several times at the Elysée Palace and organized the great Made in France exhibition. The new table of the Council of Ministers, Medulla, which we have heard about all over the world, is also very symbolic. It must be remembered that the old one was simply composed of planks placed on rails. New, very designer and inventive, durable and environmentally responsible. It was carried out by ENSAAMA (National School of Applied Arts and Crafts, editor’s note) and Mobilier National by students from eleven federal companies. This is the first in the history of the palace. This project updates the policy of public procurement and shows the incentive role that the state can play.
Finally, can these artistic professions re-enchant our times?
Yes of course ! A big yes! Fine arts are the power of history and the magic of creating the present. And this alliance creates magic. The wonder is stronger when you know where you come from. These are gestures passed down through the ages. They give a certain soul and power to the transformation of matter. We must use the strengths of the past to look to the future. Crafts have that power.
Source: Le Figaro
